DOCSLIB.ORG

Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College Skidmore College Creative Matter Master of Arts in Liberal Studies (MALS) Student Academic Departments and Programs Scholarship 5-22-2010 Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Arts and Humanities Commons, and the Arts Management Commons Recommended Citation Conn, Cyndi, "Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss" (2010). Master of Arts in Liberal Studies (MALS) Student Scholarship. 66. https://creativematter.skidmore.edu/mals_stu_schol/66 This Thesis is brought to you for free and open access by the Academic Departments and Programs at Creative Matter. It has been accepted for inclusion in Master of Arts in Liberal Studies (MALS) Student Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss by Cyndi Conn FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2010 Advisors: Kathryn Davis, Tom Huhn INTRODUCTION When initially presented, new forms of art and installation can incite hostility and derision among art patrons, critics, and general audiences. New paradigms are unsettling and artistic breakthroughs can threaten belief systems people hold dear to their understanding of the art world and how it functions. Some of the most distinguished and iconic artists in modem history have found notoriety and recognition through years, even decades, of slowly evolving acceptance into the cultural mainstream. Once labeled charlatans heralding a clear decline in culture, such eminent artists as Theodore Gericault, Edouard Manet, Pablo Picasso, and Marcel Duchamp incited public fury and scathing criticism in their respective eras for the ground-breaking work they produced. By challenging the conventions of how art is supposed to look and function, artists ,operating outside that norm encounter a public largely unprepared and unwilling to accept their permutations. As history has shown, when presented with boundary-crossing art, audiences "take out their own anxiety about change out on those who have 1 attempted ...to rearrange the prevailing power relationships" In many respects, the curator or director who chooses to present original work to a frequently bewildered and uncomfortable audience shares quite closely the challenges that face cutting-edge artists. Curators and directors promoting distinctively innovative contemporary art meet with harsh castigation for the work they present. In their attempts to uncover "the nerve endings of contemporary art" (as described by Tate Museum 2 curator Nicholas Serota) , forward-thinking curators continually question the way art 2 functions in response to the modem world. The curator must translate into exhibitions, catalogs, and discussions, concepts and forms that have yet to be defined, much less understood. Exposing and promoting the nerve endings of contemporary art demands participation outside of and attention beyond mainstream culture. Marcia Tucker, founder of the New Museum and one of the subjects of this paper, called this loving the margins. "I always feel that the margins tell you more than the center of the page ever could. Loving the margins is risky, because you're not only in unfamiliar territory, but often in hostile 3 terrain as well" . Marginalized, one is able to, and often forced to, access work and ideas beyond "the center of the page" of traditional art forms and cultural assumptions. The margins reflect independent thinking rather than the perpetuation of extant cultural structures. When new art is presented to contemporary audiences, historical facts and cultural consensus are not yet available to ensure the import of the work or to allay fear of the unknown. "You can't put something that's just been done into history; you've got to talk about its creative impact for the moment. A new work by a new artist is not 4 history. It is the present". In Women's Culture: American Philanthropy and Art, 1830-1930, Kathleen McCarthy asserts that "women, not men, took the greatest gambles on the art of the 5 future, the untested, the untried." Consequently, my research has emphasized the importance of the careers of three courageous women who shifted the boundaries of the twentieth-century art world: Betty Parsons, Marcia Tucker, and Alanna Heiss. Each in 3 her own way fundamentally challenged and changed the way the world perceives and interacts with art. Betty Parsons opened the Betty Parsons Gallery in 1946 in New York City. Dubbed by Artnews the "den mother of Abstract Expressionism" the following year, Parsons discovered and promoted, over the course of her forty-year career, such prominent artists as Hans Hofmann, Ad Reinhardt, Mark Rothko, Jackson Pollock, Clyfford Still, Barnett Newman, Robert Rauschenberg, and Richard Tuttle. By presenting some of the most innovative and exciting artists of her time Parsons "largely defined avant-garde art in America". 6 Discussing her passion for the avant-garde and her belief in promoting her artists, Parsons remarked "I think I was born with a love for the unfamiliar. How else can you describe it? I had no idea I had this talent-an 'eye' ...Everyone has instincts, but having faith in them is something you have to work for" .7 Marcia Tucker began her career in 1969 as the first female curator of the Whitney Museum of American Art. Eleven years after her appointment to that position she was fired for her unapologetic selection of artists and installations that pushed audiences and museum trustees far beyond their comfortable expectations of what a museum should be. Tucker responded to her dismissal by founding the New Museum in New York. She created a "new museum" to create a new model within the current museum system. Director of the New Museum for 22 years, she presided over, "a somewhat chaotic, idealistic place where the nature of art was always in question, exhibitions were a form of 8 consciousness-raising, and mistakes were inevitable". 4 Alanna Heiss first made her mark in the 1970's by transforming abandoned and unused buildings throughout New York into exhibition venues for site-specific art. With her hand in as many as ten empty buildings at any given moment in time, Heiss eventually focused her energies into a dilapidated New York Public School, P.S. l, which would become the largest center forcontemporary art in the United States. In 2000, she successfully managed a merger with the Museum of Modern Art, making P.S.l one of the most significant and high profile alternative arts spaces in the world. According to its current director, Klaus Bisenbach, "Since P.S. l was founded, it has had a history of working with artists, and because it has no collection of its own, it can do programs that more traditional contemporary art museums cannot do. We can react fast and allow for risk and failure".9 In 2008, when Heiss was forced by MoMA Director Glen Lowry to resign from PSI, she founded Art on Air, an Internet radio station, online audio archive for cultural programming, gallery space, and studio program. Utterly unflappable throughout her career, Heiss remains today, at age 67, on the forefront of artistic and technological experimentation and risk-taking. All three women experienced public doubt, outrage, and confusion throughout their long careers. Each operated on the precarious edge between genius and failure in order to truly promote the new. Artist John Baldesarri explains that "art comes out of failure ... you have to try things out. You can't sit around, terrified of being incorrect, saying, 'I won't do anything until I do a masterpiece"'. 10 The same is true of the curator who promotes 5 new forms of art-innovation is perceived as dangerous and certainly involves the risk of failure. Confronted with art that "does not look like art," audiences can be perplexed and wary of being duped. Parsons, Tucker and Heiss each forged ahead in the art world, trusting their instincts yet unable to definitively explain how the work they presented might prove worthy of the risks they took forit. As Tucker describes: I got used to saying things like, 'the most important works of art raise more questions than they answer.' I believed it, but it was a tough sell in an art world that demanded answers .... 'I don't know' is the honest answer when you're working investigatively, but it can get you in trouble. You're supposed to know, and if you don't you're going to be seen as unprofessional rather than adventurous.11 In their atypical approaches to art and culture, each met with substantial roadblocks. Critical reviews of their efforts tended to be derisive; vandalism abounded in their exhibition spaces. To many, these women were too independent and pushed the bounds of their respective roles too far. Through sheer will and a staunch commitment to iconoclasm, they furtherignited debate about the arts and the role of women in society. Over time, all three were lauded as progressive leaders and pioneers of the new. To better understand the context from which these women arose and the challenges they faced, my research will situate them in theirrespective moments in the New York art world, from the 1913 Armory Show through today. The main focus of the paper will explore each woman as an individual: the life she lived, her challenges and successes, and 6 her particular motivations forrisk taking and perseverance. Through research, interviews, and personal narratives, this paper will tease out commonalities and patterns in the histories of these three exceptional women and their unflaggingdevotion to cutting-edge art and artists who signified"the spirit of change that is within and about us, the spirit of 12 unrest, of the striving, of the searching for greater and more beautiful things".
Load more

Recommended publications
  • Oral History Interview with Pietro Lazzari, 1964
    Oral history interview with Pietro Lazzari, 1964 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview HP: DR. HARLAN PHILLIPS PL: PIETRO LAZZARI HP: I think while we have the opportunity it's, I think, important to assess in a way what one begins with. You have at least, you know, a dual cultural view, more, probably, so what did you fall heir to in the way of luggage and baggage that you've carried? PL: Well, I do believe I was quite lucky, if we can put it this way, I was born in the last century, 1898, in Rome and not from a family were cultural marked point was strong. My father was very inventive himself, he could draw horses. He loved to walk long distances. I remember as a young boy we used to walk outside the gates of Rome in Via Solaria or toward Ostia, and he was not a very tall man but while he walked, and while he talked he grew, I thought he was very tall, and he was inspired, his chest forward because he was the bandolier, which is a sort of an elite corps in the Italian army and he volunteered very young. So going back to our walks, he was familiar with the Roman ruins and frescoes in churches particularly those churches on the outskirts of Rome.
    [Show full text]
  • Broadcast Actions 5/29/2014
    Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C. 20554 News media information 202 / 418-0500 Recorded listing of releases and texts 202 / 418-2222 REPORT NO. 48249 Broadcast Actions 5/29/2014 STATE FILE NUMBER E/P CALL LETTERS APPLICANT AND LOCATION N A T U R E O F A P P L I C A T I O N AM STATION APPLICATIONS FOR RENEWAL GRANTED NY BR-20140131ABV WENY 71510 SOUND COMMUNICATIONS, LLC Renewal of License. E 1230 KHZ NY ,ELMIRA Actions of: 04/29/2014 FM STATION APPLICATIONS FOR MODIFICATION OF LICENSE GRANTED OH BMLH-20140415ABD WPOS-FM THE MAUMEE VALLEY License to modify. 65946 BROADCASTING ASSOCIATION E 102.3 MHZ OH , HOLLAND Actions of: 05/23/2014 AM STATION APPLICATIONS FOR RENEWAL DISMISSED NY BR-20071114ABF WRIV 14647 CRYSTAL COAST Renewal of License. COMMUNICATIONS, INC. Dismissed as moot, see letter dated 5/5/2008. E 1390 KHZ NY , RIVERHEAD Page 1 of 199 Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C. 20554 News media information 202 / 418-0500 Recorded listing of releases and texts 202 / 418-2222 REPORT NO. 48249 Broadcast Actions 5/29/2014 STATE FILE NUMBER E/P CALL LETTERS APPLICANT AND LOCATION N A T U R E O F A P P L I C A T I O N Actions of: 05/23/2014 AM STATION APPLICATIONS FOR ASSIGNMENT OF LICENSE GRANTED NY BAL-20140212AEC WGGO 9409 PEMBROOK PINES, INC. Voluntary Assignment of License From: PEMBROOK PINES, INC. E 1590 KHZ NY , SALAMANCA To: SOUND COMMUNICATIONS, LLC Form 314 NY BAL-20140212AEE WOEN 19708 PEMBROOK PINES, INC.
    [Show full text]
  • Art in America
    MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, self­assured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs.
    [Show full text]
  • Oral History Interview with Betty Parsons, 1981 June 11
    Oral history interview with Betty Parsons, 1981 June 11 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Betty Parsons on June 11, 1981. The interview was conducted by Gerald Silk as part of the Mark Rothko and His Times oral history project for the Archives of American Art, Smithsonian Institution. Funding was provided by the Mark Rothko Foundation The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview GERALD SILK: The first question about Rothko is, do you recall when you first met him? BETTY PARSONS: I was introduced to Mark Rothko I think by Peggy Guggenheim. I would say… MR. SILK: Was she handling his art then? MS. PARSONS: She knew him then. He was in a group show with her. I think it must have been around - I would say around…it must have been around '44. MR. SILK: So it was Peggy Guggenheim who introduced you? MS. PARSONS: She introduced me to Rothko. MR. SILK: And then, of course, you met him many times after that? MS. PARSONS: Well, we became friends and eventually he said he'd like to have a show with me. MR. SILK: When was the first show? MS. PARSONS: Well, I'm terrible - I'm the worst document.
    [Show full text]
  • Betty Parsons's 2 Lives: She Was Artist, Too by CAROL STRICKLAND Published: June 28, 1992
    Betty Parsons's 2 Lives: She Was Artist, Too By CAROL STRICKLAND Published: June 28, 1992 BETTY PARSONS, born in 1900, grew up amid luxury, with homes in New York, Newport and Palm Beach. When she was a child, a fleet of cars emblazoned with the family crest whisked her to Miss Chapin's School and then finishing school. As a newlywed, she traveled through Europe on a nine-month honeymoon in a chauffeur-driven Rolls-Royce. But it was not until she lost her fortune that Betty Parsons found her fate, to be, as Ellsworth Kelly said, "an extraordinary woman in the history of modern art." Disinherited after her divorce, Mrs. Parsons made history on her own. Operating on nothing but her own convictions, she became a legendary art dealer, championing the New York avant-garde in the years after World War II. From 1946 until her death in 1982, Mrs. Parsons ran the Betty Parsons Gallery in Manhattan, which represented leading names in modern American art. She showed work by Abstract Expressionists like Barnett Newman, Jackson Pollock, Mark Rothko and Clyfford Still, as well as succeeding generations of innovators like Mr. Kelly; Agnes Martin, the minimalist, and Richard Tuttle, the Postminimalist sculptor. "Betty and her gallery helped construct the center of the art world," said Helen Frankenthaler, the painter, who met Parsons in 1950. "She was one of the last of her breed." Mrs. Parsons's role as a leading promoter of abstract art is well known. Less well known is that she was an artist. "Betty led a double life," a nephew, William P.
    [Show full text]
  • William Anastasi
    WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum
    [Show full text]
  • Betty Parsons Heated Sky Alexander Gray Associates Gray Alexander Betty Parsons: Heated Sky February 26 – April 4, 2020
    Betty Parsons Sky Heated Betty Parsons: Heated Sky Alexander Gray Associates Betty Parsons: Heated Sky February 26 – April 4, 2020 Alexander Gray Associates Betty Parsons in her Southold, Long Island, NY studio, Spring 1980 2 3 Betty Parsons in her Southold, Long Island, NY studio, 1971 5 Introduction By Rachel Vorsanger Collection and Research Manager Betty Parsons and William P. Rayner Foundation Betty Parsons’ boundless energy manifested itself not only in her various forms of artistic expression—paintings of all sizes, travel journals, and her eponymous gallery— but in her generosity of spirit. Nearly four decades after Parsons’ death, her family, friends, and former colleagues reinforce this character trait in conversations and interviews I have conducted, in order to better understand the spirit behind her vibrant and impassioned works. Betty, as I have been told was her preferred way to be addressed, was a woman of many actions despite her reticent nature. She took younger family members under her wing, introducing them to major players in New York’s mid-century art world and showing them the merits of a career in the arts. As a colleague and mentor, she encouraged the artistic practice of gallery assistants and interns. As a friend, she was a constant source of inspiration, often appearing as the subject of portraits and photographs. Perhaps her most deliberate act of generosity was the one that would extend beyond her lifetime. As part of her will, she established the Betty Parsons Foundation in order to support emerging artists from all backgrounds, and to support ocean life. After her nephew Billy Rayner’s death in 2018, the Foundation was further bolstered to advance her mission.
    [Show full text]
  • Extended Sensibilities Homosexual Presence in Contemporary Art
    CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr.
    [Show full text]
  • Museum of Arts and Design
    SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Museum Show May 12–August 26, 2018
    5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release Exhibition Cary Leibowitz: Museum Show May 12–August 26, 2018 Installation view of Cary Leibowitz: Museum Show (January 26–June 25, 2017) at The Contemporary Jewish Museum, San Francisco, California. Image courtesy The Contemporary Jewish Museum. Photo by JKA Photography. HOUSTON, TX (April 4, 2018)—The Contemporary Arts Museum Houston (CAMH) is #CaryLeibowitzCAMH pleased to present Cary Leibowitz: Museum Show, the first comprehensive career survey #atCAMH and solo museum exhibition of Leibowitz’s work. The exhibition features nearly 350 original @camhouston artworks from 1987 to the present, including paintings, fabric works, multiples, installations, documentation, photography, and ephemera. Cary Leibowitz: Museum Show has an opening reception on the evening of May 11 and will remain on view through August 26, 2018. New York–based artist Cary Leibowitz (b. 1963) creates bold, brightly colored, and comically self-effacing text-based works which draw on both a gay and Jewish perspective in order to address issues of identity, kitsch, modernist critique, and queer politics. Included in the exhibition are paintings that read, “Here I am please don’t be mean” and “I just got a pair of Gucci for Bergdorfs loafers for 50% off and I really do feel better.” A white porcelain fish- shaped dish reads, “Fucked up homo bar-mitzvah gay boy worries too much about what 1 5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release his mother will wear.” Additionally,
    [Show full text]
  • New Solar Research Yukon's CKRW Is 50 Uganda
    December 2019 Volume 65 No. 7 . New solar research . Yukon’s CKRW is 50 . Uganda: African monitor . Cape Greco goes silent . Radio art sells for $52m . Overseas Russian radio . Oban, Sheigra DXpeditions Hon. President* Bernard Brown, 130 Ashland Road West, Sutton-in-Ashfield, Notts. NG17 2HS Secretary* Herman Boel, Papeveld 3, B-9320 Erembodegem (Aalst), Vlaanderen (Belgium) +32-476-524258 [email protected] Treasurer* Martin Hall, Glackin, 199 Clashmore, Lochinver, Lairg, Sutherland IV27 4JQ 01571-855360 [email protected] MWN General Steve Whitt, Landsvale, High Catton, Yorkshire YO41 1EH Editor* 01759-373704 [email protected] (editorial & stop press news) Membership Paul Crankshaw, 3 North Neuk, Troon, Ayrshire KA10 6TT Secretary 01292-316008 [email protected] (all changes of name or address) MWN Despatch Peter Wells, 9 Hadlow Way, Lancing, Sussex BN15 9DE 01903 851517 [email protected] (printing/ despatch enquiries) Publisher VACANCY [email protected] (all orders for club publications & CDs) MWN Contributing Editors (* = MWC Officer; all addresses are UK unless indicated) DX Loggings Martin Hall, Glackin, 199 Clashmore, Lochinver, Lairg, Sutherland IV27 4JQ 01571-855360 [email protected] Mailbag Herman Boel, Papeveld 3, B-9320 Erembodegem (Aalst), Vlaanderen (Belgium) +32-476-524258 [email protected] Home Front John Williams, 100 Gravel Lane, Hemel Hempstead, Herts HP1 1SB 01442-408567 [email protected] Eurolog John Williams, 100 Gravel Lane, Hemel Hempstead, Herts HP1 1SB World News Ton Timmerman, H. Heijermanspln 10, 2024 JJ Haarlem, The Netherlands [email protected] Beacons/Utility Desk VACANCY [email protected] Central American Tore Larsson, Frejagatan 14A, SE-521 43 Falköping, Sweden Desk +-46-515-13702 fax: 00-46-515-723519 [email protected] S.
    [Show full text]